half-glimpsed...(2013) for ensemble of 17 players - Insomnio, Ulrich Pöhl, Gaudeamus Festival 9/7/13

“Reverberation: MuYu” 56 MuYu (Temple Blocks) for five percussionists (2020-21) 
Fang-Yun Tsai, Yu-Ying Chang, Yu-Wen Hung, Chi-Yi Chung, and Chi-Hsia Lai, percussion

12.4.22 Miaoli, Taiwan

Reverberation: MuYu (2020-21) Excerpt

《鉦錚》給預置二十一絃鋼絃箏與打擊
"Zheng Zheng" for prepared 21-steel string Zheng and Percussion (2020)
Jing-Mu Kuo, zheng, Rho-Mei Yu, percussion

12.4.20 National Concert Hall, Taiwan

"Zheng Zheng" for prepared 21-steel string Zheng and Percussion (2020)

2015 Composit Festival
July 5, Rieti, Italy
Saxophone: Vincent Daoud
Accordion: Luca Piovesan
Guitar: Maarten Stragier
Percussion: Tom De Cock

Bokeh (2015) for Alto Saxophone, Metal Plates, Acoustic Guitar, and Accordion

Ensemble Multilaterale
Flute: Matteo Cesari
Tenor Saxophone: Angel Miguel Lorente
Violin: Antoine Maisonhaute
Violoncello: Séverine Ballon
June 26, 2015
Barga, Italy

Bokeh (ii) for Flute, Tenor Saxophone, Violin, and Violoncello (2015)

Ensemble Suono Giallo
Michele Bianchini, saxophone
Laura Mancini, percussion
Simone Nocchi, piano
Andrea Biagini, conductor

July 23, 2016
Cittá di Castello, Italy

corpo a corpo (2016) for Tenor Saxophone, Frame Drum+Bass Drum, and Piano

OM (2016)
Bass Flute, Bass Clarinet, Violin, Viola, Violoncello, and Piano

BlauerReiter Ensemble
Conductor: Armando Merino
Bass Flute: Zinajda Kodrič
Bass Clarinet: Miao Zhao
Violin: Cristian Roibu
Viola: Alexa Beattie
Violoncello: Graham Waterhouse
Piano: Marco Riccelli

17.11.2016 Johannissaal, Nymphenburg Palace, München

Revised version performed by Ensemble mdi (Elena Gabbrielli, Paolo Casiraghi, Lorenzo Gentili-Tedeschi, Paolo Fumagalli, Giorgio Casati, Luca Ieracitano), conducted by Armando Merino on December 20, 2017 at Auditorium Lattuada, Milano.

OM (2016)

暗影 | Darken
for piano four-hand (2017)
Commissioned and premiered by Ming-Ching Wu and I-Yi Pan on October 30, 2017 at the National Concert Hall in Taiwan

Program Note
What is piano 4-hand? Is it merely to have more voices played at the same time, such as the case in orchestral or symphonic reductions? Or is it just to extend the range possibilities of 2-hand? I believe there is an area that has yet to be explored in this unique arrangement. In this piece, two hands will be heard as usual, while the other two are always hidden, functioning as shadows, manipulating resonances and sound situations between the sonic attacks. What has interested me about the piano is always the resonances, and what happens to the resonances during the natural decay. Can these beautiful and mysterious resonances be transformed and overtake the attacks? Can the piano have different sonorities and textures at the same time without any preparations?

2017

Darken for piano four-hand

Zheng Tsung for prepared 21-string steel string Zheng(2018)
《錚鏦》給預置21絃鋼絃箏（2018）

2019三個人獨奏家系列－箏新視野II～郭岷勤箏獨奏會】
2019/01/04 19:45 
國家兩廳院演奏廳
策展/演出：郭岷勤 

演奏箏意味著什麼？更具體地提問，當演奏者將手放在樂器上，樂器與演奏者之間的關係是什麼？當然，箏充滿了無限的可能，而《錚鏦》是作曲家對「縮短演奏者與樂器之間的距離」這單一面向，所做的探索。把箏作為演奏者的延伸，而演奏者也成為箏的延伸，使演奏者的身體也成為箏共振的載體。雁柱左側的絃通常是作為亂奏區，在預置下改變了它的原聲，產出如鐘聲般的聲響；雁柱右側的絃則在定絃上做出呼應，產出另一種鐘聲。在這兩種不同聲音上的振動，使箏與演奏者成為一個無限共振的循環。

2019 3people Solo Concert Series - Zheng: New Horizon II - KUO Ming-chin solo Zheng Recital
2019/01/04 19:45 
Recital Hall at the National Theater and Concert Hall in Taiwan
Producer/Zheng: KUO Min-chin

What does it mean to play the Zheng? More specifically, when the performer puts hands on the instrument, what is the relationship between them? Of course, Zheng is full of infinite possibilities,
but in “Zheng Tsung” I am only interested in exploring the path of dissolving the distance between the performer and the instrument. The Zheng becomes an extension of the performer, the
performer also becomes an extension of the instrument, and further serves as the resonant body of the resonance. Normally the left side of the bridge is considered as an area of unspecified
pitches, however, under unique preparations, the sound is transformed into bell-like qualities; the strings on the right side are also tuned accordingly in order to echo similar bell-like
characteristics. The vibration of these two different sounds form a cycle of infinite resonance and reverberation with the body of the performer.

Zheng Tsung (2018) for prepared 21-string steel string Zheng

Premiered by ELISION (Paula Rae, Peter Veale, Luke Carbon, Joshua Hyde, Callum G’Froerer, Benjamin Marks, Peter Neville, Alex Waite, Freya Schack-Arnott, Kathryn Schulmeister), conducted by Carl Rosman at the Taiwan National Theater and Concert Hall Recital Hall on May 31, 2019.

EROSION (2018-19) for ensemble of 10 players

吟 | CHANT

給五把琵琶 | for 5 Pipas (2019)

樂曲解說

本曲在琵琶定弦上做了許多改變：琵琶第一聲部及第二聲部的內兩弦，調成只有微分音的差別，形成 A C# C# A 與 G D D G的定弦；第四聲部與第五聲部，則使用了三條第四弦，每弦的差異也只有微分音，形成了 A A A A 與 G G G G 特殊的定弦。整體的聲響效果，因定弦而呈現了以自然泛音為主的豐富和聲，並利用這些微分音的差別，來揭示與突出聲音中微妙的振動與波動。

曲中的核心靈感，來自於布農族的祈禱小米豐收歌，又稱八部合音，引用了儀式性的模式，讓不同聲部漸漸往上升，並在這無限的重疊循環中，試圖尋找出和諧的和聲與聲響。


此曲由琵琶雅集在2019年8月30號在臺灣國家兩廳院演奏廳首演。
Premiered by the PIPA-ensemble on August 30, 2019 at the Taiwan National Theater and Concert Hall Recital Hall.


曲長約16分鐘
Approximate duration: 16 minutes


此曲由琵琶雅集委託創作，並受財團法人國家文化藝術基金會贊助
Commissioned by PIPA-ensemble, and sponsored by The National Culture and Arts Foundation of Taiwan.

2019

吟 | CHANT - 給五把琵琶 | for 5 Pipas (2019)

The Re-Emergence Of Time (2012) - Ensemble Intercontemporain, Pascal Rophé, Paris, 28-06-2012

Born in Taichung, Taiwan, now lives around the world...
ibmlizard@gmail.com

Wei-Chieh Lin

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